videoKilled the radioStar

girls just wanna, 2008 

yellow cake, 2008

nikeFace, 2008

The above images are indicative of the way that I view contemporary society.

Sure glad time is speeding up so that we can get this era over quicker.  I'm worried we're going to loop back though... The guy in this photograph on exhibit at the Contemporary Art Centre, Lithuania was worried about the same thing in 1970...

Despite the fashion photography style of this image, which I dislike, I dig the way the frame renders the subject's near limbless and the way the man looks irritated by this.  Or maybe he's irritated because a photographer has cut a hole in his ceiling to to take his picture.  OR perhaps he just glimpsed the future, and despite being dressed appropriately and having a socially acceptable haircut, was disgusted by the political climate and his previously hot girlfriends sagging soul. 

Martha Rosler, Point and Shoot, 2008

I appreciate Rosler's new series for its glaring juxtapositions as well as its utilization of new digital media.  It is on view in conjunction with the lecture series, OUT NOW!, on view at e-flux until November 8th.

Voices for Creative Nonviolence http://www.vcnv.org

Emily-Jane Major, Marie Claire, R.I.P, 2004-6.

Beyond the social critique, I appreciate the necessary obviousness of this series in the way that it gives the viewer no choice but to shatter the illusion. 

It is part of HpF 09 Helsinki's festival of photography, that aims to revisit fundamental questions regarding contemporary photographic practices.  

 HpF 09 opens 21 Jan and runs through 24 May 09. 

Does time go slower for people who live in the past? 

"modern women cry, modern women don't cry"

The following images are of my creative collaborator, María Félix , a.k.a. nervosa cringe.

They are representative of Maria's passion for film, mexican wrestling, and soaps 

In addition to the fact that they I feel that they really express the wants and desires of the modern woman, I chose them for their expressiveness.

nervosa's new man, 2008

despite all my rage, 2008

hairballoon, 2008

Chiharu Shiota, Waiting, 2008

I love the unmistakable work of Chiharu Shiota for its release of trapped emotion and

for its hugeness.  

Magdalina Abakanowicz, Red Abakan, 1969

In addition to its historical relevance, I appreciate this piece for its ability to simultaneously impact me physically, emotionally and intellectually.

It is 1 of 120 included in the Vancouver Artgallery's homage to Art and the Feminist Revolution running from 4 October - 11 JAnuary 2009.

I'm interested in this work for its boundary pushing integration of new media, text, and human interaction. Camille Utterback's recent work explores the same concept using color and organic shape.

The Milwaukee Art Museum is housing the work of Camille Utterback as part "Act/React", an exhibition dedicated to "intuitive, digitally developed art".

when images stutter

sequence 73, 2008

The above grid contains images that find their weight in color.  Together they stutter a primary

sequence that rhymes with Bataille.

The experimental work of 

Zbig Rybczynski

is currently a part of The City Rises, an exhibition at the Istanbul Museum of Modern Art.

I like this piece because it reminds of  dada collage, digitalized.

Walker Art Center is presenting the first solo exhibition showcasing work by

multidisciplinary artist, 

Tetsumi Kudo.

I like this sculptural work for its suggestion of the alive and organic.

Tetsumi Kudo seems to have managed to escape being categorized or boxed in by cultural style labels and art market fashion.

Nalini Malini's paintings/ installation at the Arario Gallery in the Chelsea district also suggests the organic, as well as eternal narrative.  

Her work reimagines the Greek Myth of Cassandra, a figure Malini understands as symbolizing "unfinished business of the woman's revolution". 

this is the time

and this is the record of the time

The following photographs of photographs are important to me because they document the decades leading up to the recent 50th birthday of my friend Teresa Vito.  Teresa's a role model and an inspiration to me as the first woman I met making a living as an artist.  I met her when I was one quarter of a century alive.  Our families both come from the mountains of Abruzzi.  We shared a porch, and many stories, at a house on Madison and Colfax for many years. 

 

Teresa Vito is one spectacular human.

The following images are from the

Thyssen-Bornemisza Art ContemporaryCollection as Aleph06.03.2008-26.10.2008

They appeal to me because they represent many pieces of work, created from many mediums, understood as a multitudinous, layered, visual archive that echoes a plethora of voice and time.

I am now obssessed with  ALEPH

Sarah Lucas, Bunny Gets Snookered #3

"A comparative reading of the literary oeuvre of the Argentinian writer Jorge Luis Borges forms the point of departure for this investigation. Borges’s oeuvre and its conceptual as well as narrative landscape is used as a methodology to build up a sequence of potential narratives (and fictions), continued (as if) en abîme in a collective archive of visual imaginary. 

Aleph – the cosmic point that contains all times and places in the universe, a fabled observatory that figures the endlessness of all things – frames the sequences of potential structures and possible fictions: from the issues concerned with the principles of identity and meanders of authorship through paradoxes of language and space-time confluences down to conjunctions of universe and utopia, reality and fiction, mirror and encyclopaedia. The exhibition emphasizes the processual reading of the act of collecting as practice(s), in which combinations and permutations of arrangements create ever new meanings, contexts and relationships between artworks."

Matthew Ritchie with Aranda\Lasch and Arup AGU: The Morning Line

Biennial of Contemporary Art of Seville

"The Morning Line is challenging architectural convention: The team of collaborators has designed the first semiasographic building, an architectural language that directly expresses its content through its structure – a structure that is simultaneously generating itself and falling apart, enclosing an interactive environment inside which a possible future can be seen – and changed."

This work exemplifies, in unconventional and dynamic architectural expression, concepts that are gripping me at this time.

[This may lead us to curator and writer Raimundas Malasaukas (who I'm attempting to contact while I sleep), the brilliant Craig Douglass Dworkin,

and cockroaches that crawl out of your dreams and onto the sidewalk to be stepped on by a boy, in front of your eyes, the next day.]

 

Interactive exhibit #2

.you know you want me to take your picture.